Hi all, this is part 5 of Turtablist Techniques Articles sets. Enjoy:)
Hands on deck, fingers on the fader.
There's a lot more to scratching than just manipulating a vinyl record. To become a good turntablist, it's equally important to learn how to “play” the mixer. Most scratching techniques involve both hands, with one hand moving the vinyl while the other controls faders or switches on the mixer. Once you master the ability to manipulate the fader and tweak vinyl simultaneously, you'll be well on your way to becoming an expert turntablist.
FADE IN
Before learning any specific techniques, you need to understand the variety of faders you'll find on currently available mixers. Though you can't reasonably blame your equipment if you're unable to perform a certain scratch, some advanced techniques are next to impossible to do on generic mixers. Older mixers, or those designed specifically for club DJs, typically do not have friction-reduced faders, so they're not the best choice if you want to do fast scratching.
In addition to friction-reduced faders, the current crop of battle mixers marketed toward turntablists (such as those available from Gemini, Numark, Rane, Stanton, and Vestax) typically feature such scratch-friendly attributes as the following:
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Variable crossfader and main fader cut-in — the point and rapidity with which the fader reaches full volume for a selected sound source. This feature is essential for performing crab-style scratch techniques.
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Short-throw crossfaders (45 mm of travel is typical) for speedy cutting and scratching.
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Hamster switches that reverse the direction of either the crossfader or the main fader. Normally, moving the crossfader to the left brings up the level of the left turntable. When you activate a crossfader hamster switch, this motion brings up the level of the right turntable instead. Activate a main fader's hamster switch, and the sound turns off when the fader is all the way up, and turns on when the fader is all the way down.
To varying degrees, all of these features are important and can make it much easier to perform many popular scratch techniques.
The fader-based techniques outlined in this month's column are fairly basic, and you should be able to perform them on almost any DJ mixer. As your skills advance and you begin experimenting with more-complex scratch techniques, you'll have a greater desire and need for some of the advanced fader features listed previously.
FADER MANIPULATION VERSUS MIXER LOCATION
When learning any scratch technique that involves both mixer and turntable, you must be aware of the mixer's location. Turntablist-style DJs usually place the mixer between the two turntables. This is the most effective placement, but it also means that you need to practice mixer-manipulation techniques with both hands. When your left hand manipulates vinyl, your right hand works the fader. When your right hand does the vinyl manipulation, your left hand controls the fader.
Initially, using both hands might feel awkward, and you may be tempted to locate the mixer on the left or right side of both turntables. However, doing this will limit your creative options. It is much better to work on perfecting an ambidextrous scratch technique — and the earlier you begin practicing, the better.
FORWARD SCRATCH
The forward scratch is the most basic of all fader-based scratch styles. A good way to start learning the forward scratch is by performing a baby scratch — a back-and-forth regular-speed scratch with the fader fully open (see last month's column for more details). As you scratch your selected sample, begin opening and closing the turntable's main fader in time with the record's forward and backward movement. The goal is to coordinate the sounds and movements so that the fader is open (playing the record) only during the forward part of the vinyl movement.
Here's a breakdown of this technique: Cue up a sample, then open the main fader. Let the sample play forward at regular speed. When the sample has played, turn the fader off and bring the record back to the sample's start. Open the fader and play the sample forward again. Repeat this process multiple times — you are performing a forward scratch, which sounds particularly good when you're scratching a word or phrase.
Here's an example of what you should hear when performing both a baby scratch and a forward scratch of the famous James Brown “Hit me!” sample (see Fig. 1): A baby scratch of the sample sounds like “hit-tih-hit-tih-hit-tih-hit me.” A forward scratch of the same sample sounds like “hit-___-hit-___-hit-___-hit me,” where the underscore represents silence (this occurs when the fader is closed).
BACKWARD SCRATCH
A backward scratch uses the same concept as the forward scratch, except that the fader is open only when you pull the record back. When you're pulling back, you should try to move the record at roughly the same speed as if it were playing forward.
Using the previous example, the backward scratch sounds like “tih-___-tih-___-tih-___-hit me.” Again the underscore represents silence (when the fader is closed).
You can do forward and backward scratches using either the main fader or the crossfader, but you may find it easier to use the main fader while you're learning these techniques. Once you have perfected the sound of the scratch using the main fader, practice with the crossfader, with the goal of making the scratch sound the same on either fader.
CHOP AND REVERSE CHOP
Chops are forward scratches pushed at varying tempos (usually faster than normal speed) to create a rhythmic pattern. For example, with the “Hit me” sample, a chop might sound more like “hi-h-h-hi-hi-hit me.”
Pushing the selected sample forward at a variety of speeds allows you to create melodies to accompany the scratch beat. Mastering the basic concept of the chop benefits any scratch performance. With this fairly simple technique, you can create a variety of interesting sounds.
Focus on varying the speed at which you push the record, and the length of the sample section you play. You can achieve further variations by experimenting with different samples, such as drums, vocals, or horns.
As a final variation, try opening the fader during the vinyl pullback. This action will result in a reverse chop, an interesting alternative that will provide you with a different set of sounds and melodies.
STAB AND REVERSE STAB
One final variation of basic fader technique is the stab, an even faster version of the chop. This technique focuses on the speed at which you repeatedly play the forward part of the sample. The stab — a very short and fast scratch, almost like a double-time chop — works best if the sample you are scratching begins immediately and at a fairly loud volume (instead of fading up); drum and snare samples are ideal.
Stabs are typically, and most easily, performed using the main fader. Regular crossfader stabs are not impossible, but they're easier to do if you set up your crossfader hamster-style. You can perform this scratch fastest and most easily when you move the hand that's on the vinyl and the hand that's on the fader in the same direction. When you use the master fader or a hamster-style setting on the crossfader, the forward motion of the fader is in sync with the forward motion of your hand on the vinyl as it plays the selected sample.
As you may have already guessed, the reverse stab uses the same technique as the stab, only you perform it as you pull back the record. One easy way to do a reverse stab is to place your hand on the platter exactly opposite where you would put it for most scratches. In this position, forward hand motion actually pushes the record backward.
SOME VINYL THOUGHTS
By experimenting with the crossfader and main fader, you'll discover the variety of noises and effects you can create through the combination of vinyl and mixer manipulation.
Don't discard or forget last month's faderless techniques — you can combine them with the basic fader techniques outlined above for a more varied and creative performance. By experimenting with different combinations of scratch techniques, not only will you make your performances sound fresher and more varied, you'll also open up your creative potential and further hone your skills.
Tips and Tricks - Turntablist Techniques Part 5
Tuesday, 28 July 2009Posted by WIN at 09:42
Labels: Tips and Tricks, Turntablist
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